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Goldoni borrowed from the older style to create a new, more realistic form of Italian comedy, and audiences greeted the new comedy with enthusiasm.
The commedia dell’arte’s last traces entered into pantomime as introduced in England (1702) by John Weaver at Drury Lane Theatre and developed by John Rich at Lincoln’s Inn Fields.
It was taken from England to Copenhagen (1801), where, at the Tivoli Gardens, it still survives.
Revivals, notably in the 1960s by a Neapolitan troupe led by Peppino de Filippo, by puppet companies in Prague, and by students and repertory players in Bristol and London, however carefully their masks copied contemporary illustrations, however witty their improvisation, could only approximate what the commedia dell’arte must have been.
This helped to keep a traditional continuity while allowing diversity.
Many attempts have been made to find the form’s origins in preclassical and classical mime and farce and to trace a continuity from the classical Atellan play to the commedia dell’arte’s emergence in 16th-century Italy.Commedia dell’arte, (Italian: “comedy of the profession”) Italian theatrical form that flourished throughout Europe from the 16th through the 18th century.Outside Italy, the form had its greatest success in France, where it became the Comédie-Italienne.The Comédie-Italienne was formally established in France in 1653 and remained popular until Louis XIV expelled the Italian troupes in 1697.The Italian players were also popular in England, Spain, and Bavaria.